Created diamonds may lack the story and romance of mined ones, but they are sustainable

The (Red) Diamond by the Diamond Foundry

On 5 December, The (Red) Diamond, a man-made all-diamond ring with no metal, will be auctioned by Sotheby’s, expecting to raise between $150,000-250,000 (around ₹1-1.7 crore). While the solid sparkling block—which is expected to have an unprecedented 2,000-3,000 facets—has been created by the Diamond Foundry, a San Francisco-based start-up that counts actor Leonardo DiCaprio among its investors and is designed in part by Jony Ive, Apple’s chief design officer, it is the auction house which lends authenticity to the hitherto contested diamond form.

Retail man-made or lab-grown diamonds came into unprecedented focus in May, when the De Beers Group—the once-monopolistic diamond-exploration, mining, retail, trading and industrial manufacturing company—introduced the lab-grown diamond brand, Lightbox, in the market. In a path-breaking move for the tightly controlled industry, De Beers, the world’s largest miner, has begun selling “above-ground” diamonds at $800 a carat (mined diamonds can cost anywhere from $1,000-20,000 per carat).

The myth of rarity

Lightbox has positioned lab-grown diamonds to be a “not rare” counterpart to mined diamonds, suggesting on their website that these are a fun, accessible form of diamonds for “lighter moods and lighter moments”. “We’re prosecco, not Champagne; street-style, not red carpet; for friends, not fiancées,” said Sally Morrison, chief marketing officer for Lightbox, as reported by Luxury Society, at the jewellery industry’s leading annual trade event JCK Las Vegas in July. David Johnson, head of strategic communications for the De Beers group, emphasizes, “Lightbox will only be a relatively small business for De Beers Group, running adjacent to our core business in natural diamonds.” And yet, their press release earlier this year stated that De Beers had enabled the construction of a $94 million facility in Oregon, USA, which, when fully functional, will produce upwards of 500,000 rough carats of lab-grown diamonds a year.

De Beers, which pioneered the concept “real is rare”, has had the technology to make lab-created diamonds for three decades with their industrial manufacturing company Element Six. In fact, diamonds were first artificially created in the 1950s for industrial use by companies like General Electric. They have only recently become viable, through technology, to be used in fine jewellery. So what are lab-grown, man-made, created, cultured or above-ground diamonds? Intrinsically, they are exactly the same as a mined diamond. They are not fake—there is no chemical, visual or structural difference and they are both composed of incredibly pure crystal carbon as a single crystal. Depending on colour and size, it can take one-three months to create a lab-grown diamond, by simulating the conditions that it would take for a diamond to be formed naturally in earth. In fact, the July Federal Trade Commission (FTC) ruling, which dropped the word “natural” from the definition of a diamond, makes it impossible for them to be called anything other than a diamond anymore.

But they are not to be confused with substances like cubic zirconia, moissanite and Swarovski crystals, that are similar in appearance but differ completely in composition.

While mined and created diamonds are exactly the same, most consumers tend to believe what De Beers has conditioned us to consider—the rarity of a mined diamond, which is purely perception. A February 1982 article in The Atlantic, “Have you ever tried to sell a diamond?”, exposed the cartel-like control that De Beers has over demand and supply. With the heavy decline in diamond purchases in the early 20th century, De Beers, according to the article, devised a multi-fold global plan to increase demand via a carefully constructed perception of rarity (by controlling the supply), an illusion of price stability (by setting global standards) along with perpetuating the desirability of diamonds. In the 1940s, a well-orchestrated diamond advertising campaign—the iconic “A Diamond Is Forever”—literally saved the floundering diamond industry and popularized the sentiment that diamonds, with their assumed rarity and brilliance, are the true markers of romance.

With the influx of sparkling above-ground diamonds—which can be found mixed with and sold as mined diamonds—retailers in the US provide official, certified options of both diamonds to consumers. Will jewellers in other countries follow suit? Johnson insists, “Forevermark, a premium natural diamond brand, does not sell laboratory-grown diamond products, and will not do so in the future.” Large local retailers like Tanishq do not anticipate the market primed for change either. “I do not see man-made diamonds replacing mined diamonds,” says Sandeep Kulhalli, senior vice-president retail and marketing jewellery division, Tanishq. “They lack the story and romance, the mystery and rarity of diamonds that the industry has collectively and painstakingly built over 100 years.”

Creating awareness

What may tip the scale in favour of man-made diamonds is that they are at least 30% cheaper—with further lower prices in the wholesale market. ALTR Created Diamonds, headed by the India-born-New-York-based Amish Shah, has been producing created diamond jewellery for US retailers—like the Warren Buffett-owned Borsheims and Helzberg. As they only grow type-II A diamonds (which are akin to the best-quality diamonds made of pure carbon, like the Kohinoor diamond), the gems boast an unparalleled sparkle. Moreover, with the size upgrade made possible by the pricing, they are finding favour in the international bridal (solitaire ring) market.

Companies like ALTR are betting on the “bigger and better” game. Shah believes that affordability of created diamonds is the main reason behind his retailers’ growing sales figures. He says, “The perception of the consumer has been built by years of exposure to mined diamonds. A created diamond is everything a diamond can be, but better.”

There’s also a question about sustainability. While mined-diamond companies argue about the fossil fuel consumption in producing above-ground diamonds, Diamond Foundry is a certified carbon neutral company, and Shah states that ALTR uses wind turbine energy and has provided jobs to more people as a result of the high demand. Mined diamonds may have withstood the stigma of unsustainable mining over decades, but consumers may no longer want to turn a blind eye to the potential risks of mined diamonds if there are other alternatives.

Shah is confident that consumer perception will change with awareness, particularly when they come in contact with a certified-created diamond, whereupon the illusion of difference vanishes. Kulhalli disagrees. “Consumers may set demand intensity, but retailers and manufacturers drive the supply and trends for precious jewellery with design-led offerings,” he says. “Change can only happen when large retailers take the gamble. Which retailer has the appetite to risk his current, thriving business to offer this option?”

Yet change may be around the corner as ALTR, which makes its diamonds in India, is geared up to enter the local market next year with its creations. Perhaps it will set the stage for thinking about luxury and investment as parallel paths. If you may not, in the future, be able to sell your diamonds at a profit, perhaps your version of the Kohinoor may be a better one to hold on to.

How can you make a diamond?

HPHT (high pressure, high temperature): By subjecting a genuine diamond “seed” to extreme pressure and temperature, simulating the organic process and conditions in which they are created below the earth’s surface.

CVD (chemical vapour deposition): Similar to 3D-printing, where carbon is layered on top of a genuine diamond “seed” in a vacuum chamber. This is a popular form of diamond creation for colourless diamonds, and can consistently produce type-II A diamonds.

When jewellery designer Kaabia Grewal hosted a Grecian bachelorette trip in Mykonos in July, she posted pictures of guests wearing custom-made Shivan & Narresh ensembles on Instagram (the designers themselves were on the guest list). Perhaps actor Sonam Kapoor’s May wedding—with #sonamkishaadi grabbing 68,800 posts—filled with decadent couture designs had set the tone.

An Instagram campaign by Shivan & Narresh for their ‘Eden Noir’ collection

Instagram, launched in 2010 and acquired by Facebook Inc. for $1 billion (around ₹7,250 crore today) in 2012, is one of the world’s most popular social media apps. During a panel discussion titled Fashion On Instagram held in Delhi in July, Sandeep Bhushan, director, Facebook (India and South Asia), said, “Fashion is the third-most followed category by young people globally on Instagram, behind music and entertainment.” With a worldwide community of over one billion users, and 25 million businesses, the photo- and video-sharing app has changed the way we live, interact and shop. What is its digital charisma and can brands get famous by just getting on the bandwagon?

A level playing fieldAn audience ready to scroll and shop has created unprecedented opportunities for businesses. While the internet strips shopping of the touch-and-feel experience, Instagram’s ability to create evocative stories and user-generated-and-curated reportage of runway shows, collection and campaign previews and behind-the-scenes stories, infuses the fashion industry with a new dynamism.

Today, most Indian fashion brands use the platform proactively, while Kolkata-based couturier Sabyasachi Mukherjee has been an Instagram trailblazer since 2015. His eponymous brand has seven Instagram accounts, including a core account (started in 2015 with 2.6 million followers), city-specific accounts and one dedicated to “Brides of Sabyasachi”. The designer’s Firdaus line debuted on Instagram in 2016 and his jewellery line followed suit in 2017. “A couture show is not meant to be a democratic release. But I wanted to flip the concept—do it in a way that it goes to every single household,” says the designer. “Gone are the days when you could build luxury with the concept of distance. Today, it has to be more inclusive.”

A screengrab from Sabyasachi Mukherjee’s official Instagram account

Raul Rai, co-founder of lifestyle brand Nicobar, believes their audience has been built largely on Instagram—50% of their customers discovered the brand via social media. Its reach also means that geography doesn’t restrict shopping. Shivan Bhatiya and Narresh Kukreja have tapped markets like South Africa, Singapore, Jakarta and West Asia, courtesy their eponymous brand’s Instagram account.

Indie brands too capitalize on the platform. Carol’s Shop & Tea Room, selling vintage clothing and collectibles from Nagaland, has worked purely off Instagram from the start, taking orders directly through the portal. “The interaction with the customer is more on a personal level,” says model Carol Humtsoe, who founded the e-shop in 2016 (she is now putting together a small brick-and-mortar shop in Dimapur).

An Instagram post from Carol’s Shop & Tea Room

From grid to galleryThe 3×1 grid on Instagram (the display format on user profiles) has become a dazzling visual playground for brands. When formulating campaigns, a sizeable amount of planning is dedicated to Instagram and brands are upping their content strategy to establish a distinct voice that, they assume, will eventually lead to sales. Arjun Sawhney, managing director of communications agency TCCGGD, believes Instagram creates communities and enables a strong point of view. “Social media helps create brand awareness, in the right tone, and garner an audience, but it is not necessarily a driver of sales,” he says. “A focused, relevant audience with the economic potential to engage is critical to a brand on social media. It is not just your content game; it is the stories you are pushing.”

During the New York Fashion Week Fall/Winter 2016, the Tommy Hilfiger show witnessed the “InstaPit”, an influencer-only section with claims to maximum visibility—#TommyFall16 and #TommyHilfiger reached 137,170,550 people on Instagram (according to marketing company Pixlee).

More recently, American fast-fashion brand, Fashion Nova, has been in the news with 13.2 million Instagram followers. The brand’s customers have generated volumes of content, including selfies with #NovaBabes, driving sales via micro-influencers and celebrity endorsements.

While worldwide influencers make or break businesses, in India, the trend remains nascent. Malika Verma Kashyap, founder of digital agency and online publication Border&Fall, says, “It is filled with many smaller players who are engaging brands, but the level of ‘influence’ is negligible whether it be a stylist, designer, blogger or other. Bollywood remains the strongest influencer, and Sonam Kapoor reigns supreme with fashion brands.”

The evolution is rapidly underway, even if it hasn’t matured. “There is a shift in focus from bloggers with maximum follower count to creators of organic and original content with a targeted and niche followership, which, in turn, has given rise to a newer generation of thought leaders,” say designers Bhatiya and Kukreja.

For many brands, the platform is weighed down by the price of influencer marketing and Instagram’s reshuffled programming. What may have started as a democratic approach is now curated by algorithms that control the reach of posts. Meanwhile, consumers are also likely to get pickier about purchase triggers, gravitating towards authenticity and quality (over quantity) of posts. Rai keeps editorial and marketing teams separate to ensure an independent voice for Nicobar; while Mukherjee says: “I like to keep the voice intimate. Instagram allows you to connect directly with your consumer without a filter. The good, the bad and the ugly—it is all out there in honest, transparent communications.”

A digital economy of excessA Hootsuite Instagram stats-list suggests that 60% people discover products through Instagram, and 70% are likely to make a purchase on their mobiles. Earlier this year, Instagram expanded its shoppable posts’ feature to eight countries and enabled electronic payments for some companies. Now, Instagram is reportedly developing a stand-alone shopping application that may be called “IG Shopping”.

But the sense of immediacy combined with the need to own can drive impulsive purchases. Among the selfie-clicking generation, can an Instagrammer be “seen” in the same garment again?

Buyers swipe their cards on both sides of the fence: those who swear by online shopping and others who continue to prefer the traditional touch-and-feel purchases. New York-based brand strategy professional Tarana Mehta, who goes online for most of her purchases, sees Instagram as a “discovery platform”, finding new brands via influencers or ads. She has, like many others, bought into “the convenience of shifting the dressing room to the bedroom”. Kashyap, on the other hand, chooses not to shop on Instagram to avoid the “re-targeting algorithm” (an online code tracking customers to display ads relevant to their search habits).

Yet the platform’s ability to build a strong voice expands to those balancing the scales as well. Organizations like Fashion Revolution and Global Fashion Exchange are using the platform to start a global dialogue on fashion and enable consumer awareness. As consumers drive trends, a platform like Instagram, when not diluted with aggressive advertising and clickbait, can facilitate meaningful dialogues on fashion.

Lounge revisits embroidery techniques integral to the Indian craft vocabulary that are also making a mark on the fashion runway

One of India’s most enduring artistic traditions is its myriad forms of embroidery. Every state and region boasts of its own style, but needlework is not merely a means of ornamentation. The fabrics are also threaded with stories of the community, with motifs emerging from its natural surroundings, economic state and sociopolitical milieu.

As handmade items are reclaimed as new embodiments of luxury, many of these old, and sometimes forgotten, embroidery styles are being revived and popularized. These techniques are popular not only among designers in India but also with international labels. Belgian designer Dries van Noten has worked with embroiderers in Kolkata for decades, and Mumbai is a trade hub for a number of luxury brands seeking Indian embroidery. Labels like Gucci, Valentino, Alberta Ferretti, Maison Margiela and Christian Dior work with the Mumbai-based embroidery firm Chanakya, while Roberto Cavalli, Salvatore Ferragamo, Versace and Michael Kors have collaborated with another firm, Adity Designs, also in Mumbai.

In homage to the country’s diverse embroidery traditions, here are some of the techniques that have found new expression in the works of contemporary fashion designers.

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GaraIntegral to the wardrobes of Parsi women, gara embroidery is an amalgamation of influences from India, China, Persia and Europe. Parsi brides traditionally wear gara saris for their wedding, the intricate motifs on fabrics ranging from pagodas and dragons to roses, lotuses, roosters and peacocks.Fashion take: Turn to designers Ashdeen Z. Lilaowala and Mumbai-based Zenobia S. Davar for a contemporary take on gara embroidery on jackets, kurtis and dupattas. In 2016, the Delhi-based Lilaowala collaborated with textile label Ekaya to create handwoven garaBanarasi silks.

KashidaKashida is a popular Kashmiri needlework technique, traditionally used on garments such as stoles, woollen pherans and rugs. Evocative motifs like birds, blossoms, fruits and trees—particularly the chinar—are created, usually in a single-stitch style. Another form of Kashmiri embroidery is aari, wherein floral-inspired motifs are embroidered in fine chain stitches using a hooked needle.Fashion take: In 2014, Rohit Bal’s Gulbagh collection showcased kashida embroidery while Meera and Muzaffar Ali’s Summer/Resort 2017 collection for Kotwara incorporated aari. Manish Malhotra combined Kashmiri embroidery with Merino wool for his recentInaya collection.

MirrorworkAlso known as shisha or abhalabharat kaam, this is the craft of encasing mirrors of varying shapes and sizes to create patterns on fabric. Women artisans from Gujarat’s Kutch region and parts of Rajasthan are renowned for their expert mirrorwork, on garments, homeware and accessories, which are also widely exported.Fashion take: Designers Manish Arora, Malini Ramani, Abu Jani and Sandeep Khosla have employed mirrorwork in their designs. Jani-Khosla’s mirrorwork lehnga for Madhuri Dixit-Nene in Devdas (2002) was also displayed at London’s Victoria and Albert Museum for the Fabric Of India exhibition in 2016.

PhulkariPhulkari, meaning flower work, was traditionally practised by the women of Punjab in their homes. The designs depict colourful motifs embroidered using a long-and-short darn stitch. A mandatory trousseau item for the community’s women, the craft even found mention in Waris Shah’s 18th century poem Heer Ranjha where phulkari was part of Heer’s trousseau.Fashion take: Manish Malhotra’s Threads Of Emotion collection was exhibited at the Philadelphia Museum of Art’s Phulkari: The Embroidered Textiles Of Punjab exhibition in 2017. The embroidery is also used on accessories, like juttis by Fizzy Goblet, and stoles, bags and small items by the Chandigarh-based brand 1469.

KanthaOriginally practised by women in rural Bengal and Odisha, kantha was used to create blankets (in Bangla, the word is used interchangeably for the embroidery and the blankets). The patterns, crafted using a simple running stitch, are themed on daily life, floral and animal motifs, and geometric shapes.Fashion take: Designer Sunita Shanker and label 11.11 by CellDSGN have used modern interpretations of the embroidery technique.

SujiniThis embroidery technique practised by women in rural Bihar is akin to an art form. Outlined in chain stitch and filled with running stitches, sujini is also a means of storytelling. The designs often locate a woman’s place in a patriarchal society, with depiction of social evils like dowry or domestic violence, and also showcase their personal aspirations.Fashion take: Emerging label Indigene designed a collection of sujini-embroidered garments in 2017, co-created with women artisans from Bihar and Uttar Pradesh, while Delhi-based textile designer Swati Kalsi also collaborates with sujini craftspersons on new designs.

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MukaishPopularized in Lucknow, mukaish is created by twisting thin metal strips into fabric. Fardi ka kaam, dotted mukaish embroidery, is done by women, while kamdani, done by men, is used to create varying patterns. The labour- and time-intensive craft has gradually diminished and is today known by only a handful of karigars.Fashion take: Mukaish can be spotted on runways, courtesy designers like JJ Valaya and Payal Singhal, who incorporated the craft in her Summer/Resort 2018 collection.

ChikankariBelieved to have been introduced in the Mughal court by Noor Jahan, wife of emperor Jahangir, Chikankari is the practice of stitching white untwisted yarn on fine fabrics like muslin, cotton or voile. In recent years, the embroidery is also being done on brightly-hued fabrics or using coloured threads.Fashion take: Sustain, the apparel line from Good Earth, employs Chikan for its Noor Naira collection on white cotton, Chanderi and Malkha, while Delhi-based designer Sanjay Garg’s collection Cloud People introduces new motifs, such as the figures of angels in the design.

GotaIndigenous to Rajasthan, where the craft can be seen on lehngas and odhnis as well as turbans, gota refers to strips of gold and silver ribbons that are used to make appliqué patterns on fabrics or butis (small patterns) inspired by local flora, fauna and community life. Originally using precious metals, today’s designs are often made from cheaper copper-coated silver or polyester film known as “plastic gota”.Fashion take: Anita Dongre, Ridhi Arora and Yogesh Chaudhary incorporate gota in their designs, while The Scarf Story, an accessories label by Joanna Kukreja, has reinterpreted it on cashmere.

While actor Marlon Brando may have popularized the classic tee on screen with A Streetcar Named Desire (1951), it was American Republican candidate Thomas E. Dewey who used the first-ever slogan T-shirt in 1948 for his “Dew it with Dewey” presidential campaign—albeit with not much political success. Over the years, the slogan tee grew in popularity with the setting up of Disneyland and sale of their graphic tees in the 1950s, iconic pop artist Andy Warhol’s silk-screen printing technology of the 1960s, and the rise of pop music fandom (think The Rolling Stones) and anti-war protests, specifically the Vietnam War, during the 1960s.

The 1970s and 1980s were seminal for the tee out to challenge the establishment. English designer Katharine Hamnett launched politics on cotton—she met the then British prime minister Margaret Thatcher in 1984 sporting a T-shirt with an anti-nuclear message. Hamnett was quoted in The Guardian (2009): “Slogans work on so many different levels; they’re almost subliminal. They’re also a way of people aligning themselves to a cause. They’re tribal. Wearing one is like branding yourself.” British fashion designer Vivienne Westwood pushed forth her punk movement with slogan tees, while also reflecting political causes like nuclear disarmament and climate change, the latter as recent as 2013.

Designer Vivienne Westwood’s call for a climate revolution.

Inevitably, the feminist ball started rolling as part of the sartorial activism. Formed in New York in 1985, Guerrilla Girls, an anonymous group of feminist activist artists fighting sexism and racism within the art world, took their poster, Advantages Of Being A Woman Artist, on to a T-shirt, among other things. The Fawcett Society, a UK-based charity campaigning for gender equality and women’s rights, teamed up with Elle UK and the high-street chain Whistles for the This is what a feminist looks like campaign in 2014—which, incidentally, faced a pushback with questions about the ethical production of the tees by the organization.

Dior’s ‘We Should All Be Feminists’ campaign.

Maria Grazia Chiuri opted for “We should all be feminists” for her very first collection for the French fashion house, Dior, in October 2016, restarting the politics of feminism on a T-shirt; at the recently concluded Dior Autumn/Winter 2018-19 show, the statement sweater worn by model Ruth Bell, “C’est Non, Non, Non et Non!”, was a throwback to the defiant Youthquake spirit of Paris in the 1960s, and the nascent feminist movement gathering momentum at the time. You could’ve been living under a rock and still not have missed the slogan T-shirts on the runways at the New York Fashion Week 2017, with Nepalese-American, New York-based designer Prabal Gurung’s “The future is female”, and New York-based fashion and lifestyle brand Creatures of Comfort stating, “We are all human beings.” While questions may be raised about the imperfections of the fashion industry, such as the ethical and eco-friendly production of these tees, the power of a slogan T-shirt to keep the spotlight on topics like misogyny has remained strong.

When statements are rife, so are controversies. Just a couple of months ago, Swedish high-street label H&M created a furore with an ad featuring an African-American child donning a hooded green sweatshirt with the words, “Coolest monkey in the jungle”, while online retail firm Amazon recalled children’s clothes bearing the slogan, “Slavery gets sh-t done.”

American high-street brands are uncomfortably familiar with T-shirt controversies. Running the gamut of sensitive topics are Abercrombie & Fitch’s Asian stereotype-propagator, “Wong Brothers Laundry Service: Two Wongs will make it white” (2002), Urban Outfitters’ anorexia-promoting “Eat less” (2010), American Apparel’s borderline-paedophiliac “Teenagers do it better” (2011), and JCPenney’s anti-feminist “I’m too pretty to do homework…so my brother has to do it for me” (2011) T-shirts. Not to forget popular sportswear brand Nike running with “Gold Digging” (2012) and pro-drug terminology like “Get High” and “Dope” (2011), with their affirmative tick mark logo featured below. Conde Nast Traveller’s October-November 2016 Indian edition cover with Priyanka Chopra wearing a custom tee upset some with words like “Refugee” and “Immigrant”, forcing the actor to issue a public apology.

Katy Perry in a ‘Nasty Woman’ T-shirt.

The democratic garment is no stranger to political controversies either. When Donald Trump called Hillary Clinton a “nasty woman” during the final presidential debate in 2016, Amanda Brinkman, founder of ethical, women-driven lifestyle products site Shrill Society (earlier known as Google Ghost), created a satirical “Nasty Woman” T-shirt while the debate was live. Her creation went viral, selling nearly 10,000 pieces overnight. It became a symbol of anti-Trump resistance, with Hillary Clinton tweeting a video of actor Will Ferrell wearing the shirt. Says Brinkman, “Being able to identify with others through visual clothing choices is a powerful way to seek out and find like-minded individuals. When Trump called Clinton a ‘nasty woman’, it resonated with women everywhere who get talked down to despite (or perhaps, because of) their intelligence, ambitions, and desires.”

Delhi-based ethical young brand Doodlage uses slogans as a part of its fashion vocabulary. Says founder Kriti Tula, “Clothing is a means of self-expression and slogans allow you to be more vocal and expressive, and make a statement.” Besides self-expression, perhaps, the T-shirt is really a neutral canvas on which you can paint your thoughts. Unfortunately, many of the T-shirt conversation starters over the decades are still relevant today. Which makes one wonder if there is enough change happening in the world, one slogan tee at a time.

As ‘yami kawaii’, a Japanese fashion trend highlights mental illness, Lounge looks at the social taboos that fashion in India has addressed, however fleetingly

‘Yami kawaii’ on social media.

Japan, in its inimitable way, has a relatively new subculture called “sick cute”, or yami kawaii. Taking off from the traditional kawaii culture that celebrates pastel-pink cuteness and pristine beauty, yami kawaii has Harajuku locals sporting medical-themed accessories like bandages, syringes, pills and fake blood, or anti-social words like “I kill you”, demonstrating the dark side of life on the same cutesy backgrounds. Suggesting that the wearer is fragile, ill or emotionally wounded, this is an attempt to start a conversation about depression and mental health, taboo in a country that has extraordinarily high rates of suicide.

Over the decades, globally, fashion has focused on issues that were relevant at the time: be it Jean Paul Gaultier’s skirts for men in 1984, Vivienne Westwood’s climate revolution call to action in 2013, or Comme des Garçons designer Rei Kawakubo’s acceptance of the imperfections of the human form. Feminism and gender equality have been consistently on the fashion radar, particularly with the rise of androgynous fashion. Many such socio-political movements may not have seen the kind of momentum they did without the support of pop culture.

House of Riot

“Through our clothing, we express our economic status, our social alliance…. For fashion to effect change, it must speak up,” says Australian model-activist Ollie Henderson in a TEDx Sydney talk in 2015. Henderson, who found her voice through slogan T-shirts at the Australian Fashion Week, 2014, founded a Sydney-based fashion label and youth movement, House of Riot, that is described on their website as “an extended art project fuelled by political frustration”.

In India, perhaps an early example of fashion as a means of social change was Gandhi’s Swadeshi movement, which popularized, among other things, the use of local handwoven Khadi cloth. It not only had a political impact on the country’s freedom struggle but also paid dues to the grassroots-level artisans, with a positive socio-economic effect. There have been voices since, from Rohit Bal’s 2003 showing of men on the runway wearing sindoor as a gender-neutral statement to Lakmé Fashion Week’s (LFW’s) Sustainable Fashion Day (now in its seventh year), where artisans regularly take centre stage, walking the ramp with the designers.

“Globally, fashion weeks and organizations are embracing culture-led conversations; whether it is plus-sized model Ashley Graham becoming a rage on the international runways or the feminist movement started by Prabal Gurung in his show at New York Fashion Week last season,” says Jaspreet Chandok, vice-president and head of fashion, IMG Reliance, which co-organizes the LFW. “The first step is acceptance, which we (locally, with the LFW) have been able to achieve; once we move fashion from exclusive to inclusive, it will tip over into a larger conversation which can actually lead to change,” he adds.

Last autumn at the LFW, Narendra Kumar Ahmed unveiled a short film, The Marriage Of Shayla Patel, with his bridal-wear show of the same name. In it, an elite urban bride-to-be who is in love with a woman is caught in a dilemma: choosing love over what is expected of her. It attempts to strip India’s strongest societal edifice—marriage, and, therefore, weddings: People get lost in the glamour, diamonds and designer clothes as they conform to society’s version of normal. Anjali Lama (born Nabin Waiba) became the first transgender woman to model at LFW Summer/Resort 2017 during their #TagFree show, which also included gender-neutral model Petr Nitka. The show strove to break stereotypes of size, shape, age and sex. The LFW Winter/Festive 2017 turned up the volume on sustainability and the footprint of fashion with the #RestartFashion initiative and Huemn Project’s Reflection. The designers for Huemn, Pranav Misra and Shyma Shetty, created an installation, a landfill of human bodies wrapped in clothing scraps and plastic bags. Misra believes: “Fashion’s primary role is to inspire and bring about change. Clothing is a by-product of the industry.”

Bobo Calcutta’s collection symbolizes the liberation of love and sexuality.

Godrej India Culture Lab’s (GICL’s) initiatives open the discussion on taboo topics—for instance, the Queer Aesthetics Now! installations at the recently concluded LFW Summer/Resort 2018 brought to the fore queer awareness and rights with a showcase by designers like Sumiran Kabir Sharma and Ayushman Mitra, among others. Kolkata-based Mitra’s collection (under the label Bobo Calcutta) symbolizes the liberation of love and sexuality, such as a sexless cotton jumpsuit that depicts gender-neutral faces in liplock, while the hand embroidery is done by craftsmen from West Bengal picking hues from the gay pride flag.

Fashion has managed to highlight issues like sexuality and sustainability, but will it shake up Indian society? While Misra appreciates the positive dialogue that began with their installation, he cannot judge its on-ground impact in a mere six months. Efforts at the institutional and individual levels are rife, but yet to become a movement like yami kawaii, stepping off the catwalk and on to the streets. “Fashion does talk about issues in India, but not in an articulate way. The mainstream voices are so focused on the two Bs—Bollywood and bridal—that these conversations remain on the margins. And at the end of the day, these dialogues should stem from designers that celebrate career-long values rather than ephemeral marketing,” says Parmesh Shahani, head of the GICL. For fashion can be a game changer, a way for people to connect to socio-political movements and express their support—being the change by wearing the change.

From reclaimed fishing nets to algae biomass, and fungi fabric to banana fibre cloth, fashion has a new yarn to spin, and it’s singing a biodegradable tune. Eco-friendly fabrics are not only good for the environment, they also feel great because they are natural, non-toxic and breathable. Eco-fashion stems from sustainable sources, it includes fibres that do not require the use of pesticides or chemicals to grow, as well as biodegradable or fabric spin-offs from the non-biodegradable waste that is choking our planet. Lounge lists 13 fabrics that make the cut.

Bamboo Fabric

Bamboo fabric has come a long way from corset bones of the past. The fabric is durable, drapes well and absorbs moisture, while harvesting of bamboos is sustainable for the planet. London-based Thought and Asquith, Australian brand Shift to Nature and Vancouver-based Lululemon Athletica use bamboo fabric; locally, it is used in Naushad Ali’s designs. A variant called Bamboo Charcoal is created by processing the charcoal from heated bamboo and mixing it with fabrics using nanotechnology.

Bionic Yarn

It is recycled polyester made from recovered waste, particularly from the oceans. Plastic bottles from trash are collected, broken down, shredded into fibres and spun into core yarn; then, this is woven into an eco-friendly fabric. Musician Pharrell Williams joined forces with the team behind Bionic Yarn and it led to initiatives like “Raw For The Oceans” with G-Star Raw denims.

Ultra Bloom shoes.

Bloom Foam

Algae in your shoes? No fear, Bloom has the world’s first plant-based, performance-driven foam formulated with algae biomass, using renewable feedstock. Noticed in a capsule collection of shoes by London-based Vivobarefoot, which states on its blog that each pair of these Ultra Bloom shoes will also help recirculate 57 gallons of filtered water back into natural habitats.

‘Cork Skin’

It is extracted from the cork oak tree, what Portuguese brand Pelcor calls “cork skin”, a natural, biodegradable and recyclable resource. The company offers accessories like bags, hats and shoes made out of cork.

A Falabella Go backpack by Stella McCartney.

Econyl® Yarn

An innovative regenerated fibre, “Nylon 6” is made from 100% regenerated waste material, including reclaimed fishing nets. From Swedish Stockings’ pantyhose to luxury brand Stella McCartney’s Falabella Go Backpacks, a number of brands use this yarn in items like swimwear, sportswear and hosiery. Bloni showcased a line of Spring/Summer wear glorifying Econyl® at the recently concluded Lakmé Fashion Week (LFW) in Mumbai.

Hemp

It’s an ancient fibre dating back to 8,000 BC, but it has remained on the fringe. A decade ago, Donatella Versace used a hemp-silk fabric for a gown, while Calvin Klein created a hemp-based pantsuit for the FutureFashion show at the New York Fashion Week. The durable and strong fabric comes from the fibres of the herbaceous plant of the species, Cannabis sativa, a high-yield crop. A hemp blend would look like linen, softening over time. Currently seen in American apparel brands like Bad Decision Adventure Club and Patagonia.

Linen

One of the earliest fibres known to man, the Europeans’ favourite textile was at one point used as a form of currency. Made from the fibres of the flax plant, it has been favoured for bedsheets and tablecloths. There is a value attached to vintage linen as it softens over time—it is stronger than cotton and can last for decades. Anavila Misra has made linen a hero with her handwoven saris, and Padmaja Krishnan uses linen in her handwoven fabrics.

Products using Pinatex.

Piña Fabric

Made from the discarded leaves of the pineapple plant, it is malleable, and can be combined with silk or polyester to create a textile fabric. A cheaper alternative to leather, it can morph into anything from crocodile skin to glittering gold. UK-based Carmen Hijosa’s textile line Ananas Anam has made “Piñatex” chic; the ivory, glossy fabric is also used by Filipino brides for wedding dresses.

R | Elan™

Showcased in designer Anita Dongre’s Songs Of Summer collection at the LFW, R | Elan™ GreenGold is a fabric innovation from Reliance Industries that uses specially engineered fibres. GreenGold is made from 100% used plastic bottles and has a low carbon footprint.

Recca®

Made from pre- and post-consumer waste, it stands for recycled cotton and is manufactured by the Tamil Nadu-based Anandi Enterprises. Sohaya Misra’s label Chola showcased Recca® for the LFW Winter/Festive 2017 initiative “Restart Fashion”, with a monochrome palette and soft, layered silhouettes.

SeaCell®

It’s a fibre made from a mix of ground natural seaweed and wood cellulose, which locks the nutritious properties of seaweed into a wearable fabric. While manufacturers claim that the skin can absorb these nutrients, it depends on the quantity of seaweed in the mix. Made by German company Smartfiber AG, it can be seen in Lululemon Athletica’s VitaSea line of sportswear.

SoyBean Fabric

Also known as “vegetable cashmere”, it is made from fibres that are spun from the waste of the soy food industry, like the hulls of soybean. American designer Linda Loudermilk, considered a pioneer of eco-luxury, used this biodegradable fabric in her brand Luxury Eco years before it became cool to do so.

Tencel®

Last week, the LFW had a gently floating Tencel® chandelier installation in the heart of JioGarden in Mumbai that will be recycled. Produced by Austrian textile group Lenzing, the fabric is commonly known as lyocell. While viscose, rayon, modal and lyocell are all made from plant cellulose, the same fabrics produced by Lenzing are made from sustainably-harvested trees in a “closed-loop” production cycle that recycles almost 100% of solvent. It has a soft, smooth finish, drapes well and absorbs moisture. Skinny denims by Los Angeles-based DSTLD, mini-dresses by American slow-fashion brand Reformation and Rajesh Pratap Singh’s androgynous garments flaunt Tencel®.

We are watching out for the next-gen Refibra™ fibres that will go a step further in recycling cotton scraps left over from the lyocell production process, in a bid to eliminate all waste.

Exactly when you start debating how Sarah Jessica Parker struts around town in knee-high hot pink socks tucked inside sky-high stilettos (and wonder if she buys the shoes a size bigger to make room for the socks), the world hands you the sock boot. Punk heel aside, the sock boot has a retro swing, reminiscent of the 1980s.

So it’s not a sock for your boot (which is technically termed a “boot sock”). It’s a boot, generally ankle or calf length, which merges the sock element in the design and is likely to have a pointy toe and a kitten or block heel. With colours ranging from neutral to pop, they are stretch-jersey booties, occasionally with added textures like velvet and embroidery. Sock line or potential scrunchy gathers aside, this hybrid acknowledges that athleisure is not a passing trend.

The sock boot is a natural progression from the thigh-high satin boots popularized by Karl Lagerfeld for Chanel in 1990, when the boots became an alternative to leggings. Kylie Jenner made waves in purple Balenciaga Spandex boots, which, offered in a range of colours, are an obvious replacement for leggings. In 2014, Nike and Adidas introduced the all-in-one knitted football sock shoes. More recently, Vetements and Balenciaga designer Demna Gvasalia redefined the boot with the second-skin Balenciaga “knife bootie” in black knitted sock or pop-coloured crepe, which, in turn, is an elevated take on the Vetements lighter-heel knitted sock boots. And Valentino’s and Prada’s sock-stilettos may not be boots, but they do bear a strong resemblance, naturally creating a sock-stiletto-boot hybrid.

Sock boots hug the ankles and create a slimming effect, which is a big hit on the street. And it’s a trend that suggests longevity, simply because of its ease of use. They feel lighter than the original kind and are easier to carry around when you are hopping between kickers and heels. They also turn up the volume on the preferred silhouettes of the moment, anti-fit above and body-con below. High-fashion sportswear has become a wardrobe staple, and it is but natural that boots should follow suit.

These boots make perfect accompaniments to mid-calf or knee-length flirty skirts, floral dresses and minis. They also provide opportunities for layering: Beyoncé paired her Vetements mid-calf bootie of sparkly green athletic socks and a unicorn-printed column heel with cut-off shorts and a camouflage jacket.

Our favourite among what’s out there? It’s got to be Fendi’s toast-to-vintage and ready-to-rock sock boots that give the sportiness a feminine kiss with pearls and lace.

Published in Mint Lounge, October 28 Edition
Photographs by Abhijit Bhatlekar

The passion for art began at home. Gallerist Priya Jhaveri’s parents were “obsessive collectors” of beautiful things, including modern art and antiquities, textiles, jewellery and ornaments. “They travelled widely, always including us in their visits to artist studios and galleries, and encouraged a study of the humanities,” says Jhaveri.

Since 2010, an apartment on Walkeshwar Road in South Mumbai, designed by Bijoy Jain, has been converted into Jhaveri Contemporary, a gallery showing artists across generations. Priya’s older sister, the London-based Amrita Jhaveri, manages the relationships with the estates they represent as a gallery. In Mumbai, Priya works closely with the gallery’s international artists, producing, promoting, managing exhibitions and negotiating sales, while overseeing daily operations.

The 41-year-old modern history and Spanish major from Oberlin College, US, has worked with an environmental law firm in San Francisco, collaborated with writer and filmmaker Bishakha Datta’s non-profit organization Point of View (POV) in India, co-authored a book,Unzipped: Women And Men In Prostitution Speak Out and worked as editor and project manager on books on Indian art and architecture at India Book House, before joining the art consultancy set up by her sister that evolved into the gallery.

The gallery showcases a wide range of artists, both veteran and avant-garde—currently on show is experimental film-maker Shambhavi Kaul’s work—and it forms a reference for Jhaveri’s individualistic sensibility and aesthetic values.

Priya gravitates towards understated elegance with a touch of quirk. She is dressed in Western attire for the most part. “I adore saris but I can’t tie my own sari!” she says. She has a practical approach to dressing: You are likely to find her in flats and sporting a white Swatch Skin watch. She avoids “high-maintenance clothes” for her work life, and opts for functional ready-to-wear for travel abroad, accounting for the local climate and long days at fairs. But there is always an accessory, like the chunky ivory wedding chudis she wears to add a touch of colour, or jewellery from sister Nandita Jhaveri’s eponymous line.

Shoes by You Khanga.

You might struggle to recognize the brands she wears, for she shops at local boutiques abroad for anything that catches her eye, like the You Khanga closed-toe flats (an Italian brand that works with African prints). A classic blue Acne Studios shirt is a staple and a Stella Jean dress a fun favourite, with basics from Uniqlo and Zara. In India, she tends to pick up items from Bodice, Amba, Vraj:bhoomi (for brogues) and close friend Maithili Ahluwalia’s Bungalow 8. It’s all so subtle, you wouldn’t even realize she is wearing a Chloé dress. You believe her when she quips about her personal style, “I’ve not given it much thought, so perhaps it’s effortless.”

Lounge caught up with her for an interview. Edited excerpts:

How would you describe your personal style?

I do know that style eclipses the best of wardrobes, presupposing a certain authenticity: Find comfort in your own skin, and the rest will follow. I tend to veer towards a more classic look. I’m not hugely adventurous and, depending on my mood, I can pick things that are elegant, androgynous, lazy even: I’d love to leave home in a pretty kaftan and chappals with a silver necklace thrown on.

Are you attracted to a specific palette or cuts?I gravitate towards classic cuts set apart by irregular detailing. I enjoy striking colours—orange, turquoise, sky blue, emerald—and, on occasion, patterns and prints that are graphic, playful or more delicate. I appreciate clothing made using natural dyes and fabrics and the use of traditional weaves reinvented in contemporary design.

Do you believe that a sense of style is important?Not as much as a sense of self. But if we’re thinking of style more broadly, in terms of attitude and comportment, then yes it is.

Is there any weight to the saying: style/dressing is an art form?It can be, absolutely, just like the best of television can, or a piece of writing, music, architecture or dance.

Describe your preferred outfits for work, evening and a casual setting.Lots of dresses with silver jewellery (also jewellery made with materials like coral, stone, glass) and sandals for work. If I’m working at an art fair, I add skirts and jumpsuits, with heels on the first three days and flat shoes on the last two when comfort trumps vanity. In a casual setting, I adore roomy trousers in Khadi by Runaway Bicycle.

Vintage agate and diamond earrings designed by her father Dinesh Jhaveri in the 1970s.

Describe your three best style acquisitions.

A Patola sari for its flawless double-Ikat weave. Brilliantly handcrafted, it resembles a Nintendo game with its graphic pattern sporting animals and hybrid creatures. Earrings designed by my father, Dinesh Jhaveri, in the 1970s, for their inventive use of materials like wood and crystal alongside diamonds and gold. And a classic Boucheron watch with interchangeable leather straps in multiple colours for its timeless design.

When it comes to art and fashion, do you believe in acquiring timeless pieces or the flavour of the moment?The challenge is knowing whether the “flavour of the moment” will be timeless or, equally, whether you need it to be timeless. In collecting art, my judgement sits somewhere between instinct and knowledge. It is important to make informed decisions. Supporting an artist can often be reward enough, as can an impulsive bout of retail therapy.

How important is sensibility and can you define it? Can it be acquired or is it inherent?Sadly, I can’t define it. Its importance, however, is hard to over-exaggerate. Given that sensibility covers everything that not only makes sense but also makes beauty out of the daily rough and tumble of our lives. In a different mode: I don’t think sensibility is a value that is central to art or style anymore. Most artists today respond to literary or political values. Prelapsarian aesthetic pleasures have given way to more theoretical approaches.

When it comes to style, who or what inspires you?Artist Amrita Sher-Gil, irreverence, The Sopranos, the novels of Philip Roth, the people I love and the laughter of old friends.

Published: Mint Lounge, September 23 editionAdditional images and content (end box) used in this post.

Swedish philosopher and feminist Ellen Key described in her essay, Beauty For All (1899), a life that consisted of fewer but finer things—those that are functional and beautiful all at once. By the 1950s, Scandinavia (colloquially including the five countries of Finland, Norway, Sweden, Iceland and Denmark) witnessed a design movement characterized by simplicity, minimalism and functionality. It’s a design sensibility influenced in part by the stark beauty of the Nordic landscape, the harsh northern climate and a lifestyle that is driven less by excess and more by fulfilment. The long winters and reduced sunlight, for instance, have designers creating bright, light and practical interiors. It is visible in art as well: late-19th century Swedish artist Carl Larsson was known for his brightly coloured paintings, while innovative, futuristic shapes dominated the works of the late Verner Panton, one of Denmark’s most influential 20th century furniture-and-interior designers. Contemporary interior brands like HAY and Ikea are Swedish exports to the world.

Lifestyle scape by Hay.

With fashion, the focus is on functional—and often multifunctional wear—rather than occasional glamour. Importance is given to longevity, and there is a drive towards go-to staples that you can experiment with, add your own personality to and build your look around. Over the decades, from the bold prints of the 1960s and 1970s to the boho chic of the 1990s, the fashion sensibility of Norway, Sweden, Denmark and their neighbours has emerged as a distinctive “Scandi style”.

Today, you can’t make a trip to any of the European fashion capital cities without walking into a boutique devoted solely to Scandinavian fashion brands, not to mention its deep impact on wardrobes via high-street or upmarket streetwear, like H&M. It’s what the chic Parisians and Londoners are buying, and what global celebrities are headlining.

We bring you a lexicon of the fashion brigade from Scandinavia.

ACNE StudiosAmbition to Create Novel Expressions (ACNE) is a 21-year-old brand that has bridged the gap between high fashion, ready-to-wear and streetwear, with its headquarters in Stockholm and outlets in major fashion capitals of the world.

Fjällräven

Backpacks as utilitarian coolChasing functionality entwined with a “cool geek” sensibility are brands like Fjällräven and Sandqvist. Fjällräven uses G-1000, its own hardwearing and versatile fabric born from founder Åke Nordin’s experiments with building mountaineering jackets out of tent fabric, while Sandqvist is inspired by the untrammelled rawness of the Nordic landscape.

Ganni

Copenhagen GirlsDanish brand Ganni is an Instagram fashion wonder. In 2015, Danish model and photographer Helena Christensen took a selfie with her friend, actor Kate Bosworth, for Instagram (both wearing Ganni) and captioned it “#GanniGirls”. It went viral, via digital influencers like Danish models who post images of the latest styles while on their summer break. What began as a niche cashmere line has taken the quintessential “Copenhagen girl” global, with celebrities like Jessica Alba and Kendall Jenner buying into the brand and concept.

Expressive knitwearFamily-owned, heritage knitwear companies like the Swedish House of Dagmar (named after the founders’ late grandmother, a tailor) and Danish brand SNS Herning (specializing in knitwear geared for Nordic fishermen) focus on the basics. Dagmar has defined the term “expressive knitwear”, where inspiration is taken from architecture, contemporary art and culture, focusing on textures and cuts.

GothersgadeThe major street in the city centre of Copenhagen, Denmark, offers a wide range of shops and smaller boutiques.

More than H&MIn 2014, the Swedish multinational H&M Group was valued at €13 billion (around Rs99,300 crore), the highest-valued fashion brand in Europe. H&M also owns Cheap Monday (known for their hip skinny black jeans in the 1990s), the trendy & Other Stories, the younger-apparel brand Monki, and COS (Collection of Style), the unobtrusive brand which takes high-street wear into a chic new realm.

New Nordic MovementThe award-winning, Copenhagen-based Henrik Vibskov is known for his avant-garde and forward-thinking designs in clothing (particularly men’s fashion), furniture, art and music. He is often associated with the “New Nordic Movement”, especially due to his serious runway fashion credentials.

Performance footwearSwedish brand Tretorn has expanded from weather-ready rubber boots to casual and performance footwear, with canvas shoes like Nylite and Racket. The brand that was born in 1891 holds a warrant of appointment to the Swedish royal family, making it an exclusive supplier to the court.

Camilla Skovgaard

Toffel clogsSweden’s famous “toffel” clog has found its way into contemporary times with a modern look and vintage twist. Available in 22 countries, Swedish Hasbeens toffels (expanded from platform sandals to loafers, heels and clumpy boots), bags and belts are based on the original 1970s models, and are handmade with ecologically prepared natural grain leather. Meanwhile, award-winning footwear designer Camilla Skovgaard’s edgy spike heels and moulded platforms, which count patrons in actors Halle Berry and Kristen Stewart, and singer Rihanna, are available in 33 countries.

RAINS

Weather-proof textilesDenmark’s wet climate has led to a surge in brands that factor in the weather. RAINS works contemporary cuts with weather-ready textiles, including classic rain anoraks and other waterproof apparel and accessories. Elka has rubbery, heavy gear, while Stutterheim applies the rubber fabric to handmade raincoats and SWIMS has a wide range of accessories made from 100% waterproof material.

OTHER KEY SCANDI BRANDS

By Malene Birger is worn by the Crown Princess of Denmark as well as the Duchess of Cambridge.

Wood Wood is a smart Danish athleisure brand with an attitude; with over 50 collaborations with brands from Nike to Disney and Fred Perry. Gestuz Has a pared-down sophisticated sensibility for whom they describe to be a “Gestuz Girl”.

Astrid Andersen counts fans in Rihanna and Drake, and has taken forward the sport-luxe genre by adding materials like lace and fur to classic tracksuits.

Cecile Copenhagen Took two printed scarves and turned them into a shirt and a pair of shorts, which now count as signature pieces.

As the Lakme Fashion Week takes off in Mumbai today, here are five designers to look out for and the causes they express through their collections

Eco warrior: Chola by Sohaya Mishra

Mumbai-based Mishra has worked with a monochrome palette, which she feels “leaves space for thoughtful interpretation and encourages conversations on the beauty of contrast”. “Black and white, two opposing forces yet complementary, work together to bring balance, inherent to the concept of sustainability,” she says in an email interview. This dualism is woven into her dialogue on sustainability. For the collection, Mishra is working with Recca, a recycled cotton fabric sourced from Tamil Nadu’s Anandi Enterprises, an organization that supplies organic cotton. The collection consists of recycled twills in herringbone and check weaves. The recycled cotton is soft and is different in texture from the light weight organic cotton she has used previously. The movement is forged by a social media initiative, run with the hashtag ‘#RestartFashion’, intended to educate consumers about the consequences of fast fashion and benefits of using post-consumer waste.

Master of the weave: Sanjay Garg, Raw Mango

Delhi-based Garg’s latest collection, “Angels” or “Cloud People”, opens Lakmé Fashion Week (LFW) this season, with an off-site showcase at the Royal Opera House in Mumbai. It highlights the softness of white with delicate chikankari on Bengal mul, zardozi and handwoven brocade. “The angel motif adds a new vocabulary to chikankari, which traditionally features florals and paisley motifs. In this case, it was about questioning the use of chikankari, as almost everything seen today is a diluted derivative. The chikan work in this collection is incredibly fine and delicate.” Garg recommends viewing the garments closely to examine the insides and details. What you’re likely to discover is soft feathers and clouds of angels in flight.

Bender of Norms: Anaam by Sumiran Kabir Sharma

Delhi-based Sumiran Kabir Sharma’s collection is inspired by Sonagachi, the red light district in Kolkata. “Our collection, ‘Sonagachi’, represents an unstoppable, unbeatable army of warriors from the infamous district, those who march headfirst in flowy uniforms. Fierce, nameless, ageless, genderless silhouettes representing the collective strength and a call for identity, respect and recognition,” says Sharma. He goes for a representative colour palette with grey, black and earthy browns. The material used is suiting fabric, which is conventionally menswear fabric used for uniforms or corporate clothing. Drapes and patterns co-exist to form unique silhouettes, dotted with epaulettes and stitch detailing. He asks that you “come prepared to view it with equality and acceptance”.

Nostalgia artist: Eká by Rina Singh

Inspired by old, discarded sketchbooks and undone artworks, Delhi-based designer Rina Singh’s theme embraces unfinished techniques. She creates a patchwork of artisanal, aged textiles, in a subtle aesthetic of Gandhian India. “I like to use the feeling of familiarity as opposed to sharp, untouched starched clothes. I like to present the clothes with a feeling of being washed and touched by hand, almost like it has been a part of your wardrobe already,” says Singh in an email interview. She looked to late artist Amrita Sher-Gil for inspiration, and also reached out to activist-author Arundhati Roy and artist Mithu Sen, to ask them questions about their choices and mementos in clothing.

In this collection, you will find monotones of nude with washed-down teal, indigo and blush pink. Faded shades of cement, iron and charcoal “lend a sepia-tinted veneer”. Visualize unfinished floral motifs on jamdani silk wool, block-printed textiles in art mosaic, and embroidery in unspun wool, silk and cotton yarns.

Upcycling advocate: Doodlage by Kriti Tula

Delhi-based Doodlage started with the idea of being able to use scraps from the garment industry and to work around fabric defects to create limited-edition collections. Tula has collaborated with Conserve India, a Delhi-based organization that re-purposes used polybags, discarded seat belts and tyre tubes. They will present together on the second day of the five-day event of LFW; the day is dedicated to themes of sustainability. “Upcycling industrial waste is the central idea of our brand. Each garment is created using industrial scraps, defected fabric and end-of-the-line fabrics which are all a part of pre-consumer waste that often end up in massive quantities of landfill,” says Tula. The collection for LFW, “Dreams and Dystopia”, addresses the chaos and distress in current political and social situations. “What we need is a call to action. To find the strength to push for change and to go beyond likes and shares on social media,” she says.

Deep tones of navy, maroon, sap green are combined with light under-tones of pastel blue and steel grey. “A layer of patchwork and prints representing complex city grids is superimposed with whimsical floral details,” says the designer. Doodlage employs slogans as part of its fashion vocabulary. “Clothing is a means of self-expression and slogans allow you to be more vocal and expressive,” says Tula, of the typographic design employed in her fashion line.